If George R.R. Martin’s A Song of Ice and Fire series is the dominant representation of the medieval world in popular culture, then the Dunk and Egg chronicles, of which this collection of stories is a part, are his version of the Canterbury Tales.
I am exaggerating here a bit and, much as in the comparison of even a richly textured world like this one and our history, the fictional measures up too flat, but the premise is the same. Each installment is a short story in the adventures of Dunk and Egg—that is, famed knight Duncan the Tall and Prince Aegon of House Targaryen—of the sort as might have been written in the White Book of the Kingsguard. The three stories in this installment are The Hedge Knight, The Sworn Sword, and The Mystery Knight: the first records the fateful tournament that led to their pairing, and the two subsequent stories occur with Aegon as Dunk’s squire, even though he himself is just removed from that stage of his life and has barely more training than his now-charge had access to in his palace life. (His deep secret that threatens to reveal itself is that Dunk was never actually knighted, but escapes because there is no one who can refute his word, which, ironically, he can defend on his honor as a knight. Dunk believes in chivalry in a way few of his peers do, but knightly honor is a collective fiction that they all subscribe to, at least in public.)
These are small stories that are set almost a century before the events in the A Song of Ice and Fire and largely eschew familiar locations. While the official plot explanation for this is that Dunk wants to help make Egg better than his brothers by giving him experiences outside his privileged upbringing, it serves to build the mythology and thereby lend depth to the world. It is possible one could read these books without the other baggage, but, generally speaking, the stories fall into a sub-genre of heroic origin stories, those where the ending is known, but the path is not. The Hedge Knight particularly hews to this model where the tension is built by establishing that it takes place before the hero was fully formed and thus even knowing the ending it is clear that he is wildly over-matched from the outset.
A Knight of the Seven Kingdoms more than adequately whet my whistle for tales from Westeros—an unfolding saga that I’ve been reading since I was fourteen or fifteen. I am very much more on the “take all the time you need, George,” than this one.
I don’t like it as much as the main series, but mostly because, like other “legends” books for other settings, I find myself lacking the same attachment to the characters that hooked me in the first place. There is still a lot to appreciate—world building, action, morals—and one of the funniest moments for me was in how the best tourney knight was a man of inconsequential name who, at least in that context, was superior to the famous lords. He’d never be in the debate among the “great knights”, though, perhaps because of his birth, perhaps because he wouldn’t hold up on the battlefield (something not discussed), but more likely because he was just as apt to take a fall in whatever round promised him the best return in terms of gambling odds and prize money. His “honor” wasn’t part of the equation so much as making money. This, of course, scandalizes our honest Dunk, but further serves to raise questions and provide commentary about the reputation of martial prowess, both in the world of Ice and Fire and in the fantasy genre more broadly.
In short: the stories in A Knight of the Seven Kingdoms are a pleasant and worthwhile installment in the growing Ice and Fire canon and if the next book out from this setting is a volume dedicated to the Targaryen years, I wouldn’t mind spending some more time with these two since they, by and large, are moral paragons in a world where those are so hard to find. (Really, their stories will be in the second volume of that history, but, as I said before, I can wait.)
I am currently reading Mario Vargas Llosa’s The Way to Paradise, a torturous story about art and exploitation, civilization and noble savages and I can’t yet tell if it is profoundly disturbing, utterly brilliant, or both.